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Toshirō Mifune – The Big Picture Magazine

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Categories
Feature Four Frames

Desire and Moral Boundaries: Keisuke Kinoshita’s Wedding Ring

In Keisuke Kinoshita’s Wedding Ring (Konyaku yubiwa, Japan, 1950), Noriko Kuki (Kinuyo Tanaka) finds herself on the threshold of adultery when she falls in love with the young medical intern Ema (Toshiro Mifune), who has been assigned to her husband Michio (Jukichi Uno), suffering from tuberculosis. The first encounter between Noriko and Ema takes place […]

Categories
Feature Four Frames

Heat as a psychological and aesthetic motif: Akira Kurosawa’s Stray Dog

Right from his directorial debut Sanshiro Sugata (Sugata Sanshiro, 1943), climate phenomena played an essential role in the films of Akira Kurosawa. In Sanshiro Sugata, for example, it is the wind blowing through the pampas grass, reinforcing the tension in the climactic fight scene between Sanshiro and his rival Higaki. In Kurosawa’s films, human drama […]

Categories
Feature

Playing with Genre Devices: Hideo Gosha’s Three Outlaw Samurai

Continuing In our new article series, in which writers select and discuss great director debuts to explore the possible origins of recurring themes or stylistic approaches, that often help to define the uniqueness of these one-of-a-kind filmmakers.

Categories
Double Bill Feature

Double Bill: Rashomon & After Life

It is perhaps unusual to deal with Akira Kurosawa’s masterpiece Rashomon (Japan, 1950) and another film in such a short article. However, when I watched Hirokazu Kore-Eda’s After Life (Wandafaru raifu, Japan, 1998), I was immediately struck by the parallels between this film and Rashomon. Both deal with memory, the relativity of all things, and […]

Categories
Feature

Sacrifice and Responsibility in Akira Kurosawa’s High and Low

In Akira Kurosawa’s High and Low (Tengoku to jigoku, Japan, 1963), a bungled kidnapping leads to the protagonist’s deep crisis of conscience. Wealthy Kingo Gondo (Toshiro Mifune) has to decide whether or not to pay the ransom demanded by a kidnapper who intended to abduct Gondo’s son but has taken his chauffeur’s son by mistake. […]

Categories
Double Bill Feature

Double Bill: Seven Samurai & 13 Assassins

When I was informed about this month’s “double feature” topic, I spontaneously decided to write about Akira Kurosawa’s Seven Samurai (Shichinin no samurai, 1954) and Takashi Miike’s 13 Assassins (Jusan-nin no shikaku, 2010). On rethinking the matter, I quickly became discouraged. Is it possible to deal in one short article with a masterpiece such as […]

Categories
Feature Thousand Words

Visual Poetry: Akira Kurosawa’s Throne of Blood

Inspired by William Shakespeare’s Macbeth, Akira Kurosawa created, with Throne of Blood (Kumonosu-jo, Japan, 1957), visual poetry: in black and white, light and shade, movement and immobility. Kurosawa does not try to put Shakespearean English into Japanese. Instead, image and rhythm replace words, pointing to the visual nature of Shakespeare’s language. In this way, Kurosawa, […]

Categories
Feature Thousand Words

Toshiro Mifune – Intense acting and inventive spirit

When I began working on Akira Kurosawa, the pivotal role for his cinema of Toshiro Mifune (b. 1 April 1920 d. 24 December 1997) sprang immediately to mind. I could not help thinking how much Mifune’s presence and vitality contributed to the strong sense of movement in Kurosawa’s films. Mifune’s intense acting already fascinated the […]

Categories
Feature Thousand Words

The she-panther and the yakuza in Drunken Angel

Drunken Angel (Yoidore tenshi, 1948) is Akira Kurosawa’s first film in which music, used at both a diegetic and non-diegetic level, plays an eminent structural role. One key scene is set in “Club Number 1,” a dance hall in the slum in which the action takes place. In this scene, the jazz song “Jungle Boogie” […]

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